• Journal for History of Mathematics
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• v.16 no.4
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• pp.45-52
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• 2003

It is said that mathematics is neutral and free from any thought. But the history of mathematics refuses it. This paper aims to investigate modernism and postmodernism in mathematics and to scrutinize them. For this, first modernism is characterized by concentrating on Descartes' philosophy, and next postmodern view which criticizes modernism is discussed. Finally it is claimed that mathematical realism and postmodernism can be comparable in different dimensions.

• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.81-98
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• 2010

This study aims to examine the subjects of cultural power of the modernism and post modernism eras, and analyze how the change of power and subjects influenced fashion throughout the history from the microscopic perspective, and thus to explain the social relationship of the fashion phenomenon. The study findings can be summarized as follows. First, as the post modernism era which was being formed centering around Europe that was pursuing Haute Couture and formal masculine suits ended and the post modernism era started, America became the center of the world power, and the American equalitarianism and growing wealth among the general public spread over the world, and as a result, the ready-made clothes were propagated over the world, and various subcultures came to have multi-national tendency in the New Media society. Second, in the modernism era, the high class, whites, males, and the pre-existing powerful class were the subjects of cultural power. Although this changed in the post modernism era, as some of power moved from the high class to the middle class, the economically affluent general public, still the western world, males, and whites held the center of power. However, later, females, youths, the third world nations, and so on emerged as minor power, and when the New Media society started, the structure developed so that everyone can share cultural power.

• Archives of design research
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• v.17 no.2
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• pp.403-412
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• 2004

Animation has been developed with trying a transformation of a reality continuously. The animation's trio is needed to study how the reality is expressed, transform, and developed through postmodernism, which the culture characteristic is one of culture phenomenons. First of all, to study, it s need to define what is animation and postmodernism. And then, the characteristic of postmodernism is studied to figure out how to relate with the reality in animation by the definition, and the reality is classified and expressed properly by a animation film. According to the study, the theory of simulation in animation based on Jean Baudrillard is to express the reality of post modern animation. 11 also shows what master narration is collapsed by the disorganization an outlook on consideration of an idealism and an absolutism and by the reality based on the implication aesthetic through the stream of the times. Finally, according to the combination of the genre such as the mixing 3-Dimensional and 2-Dimensional images, the appearance of the new genre is a result of the autogenous efforts in the animation which makes up the lack of the narrative due to the magical character of the hyper-realism image and the external image caused by the rapid development of technology. In this paper, the post modern reality is analyzed by a animation film such 'Animatrix', and the paper discusses how to express and re-analyze post modern reality in the animation.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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• pp.6-14
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• 2006

The purpose of this study is to examine how the Chanel Collection, a famous brand acknowledged for it's modern style, was influenced by post-modernism. The scope of research includes initial concentration on 1920's boyish style of Chanel as well as its relative influence on modernism. Secondly, the research concentrates on Chanel Collections that Lagerfeld's designs were best represented. The results were as follows: The tendency to eroticism for fashion business, tendency to retro-fashion, tendency to popularization of sub-cultural group's fashion, tendency to no-match-mix, tendency to androgynous style, tendency to emphasis on ornaments in clothing.

• Proceedings of the Korean Society for History of Mathematics Conference
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• 2003.11a
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• pp.8-9
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• 2003

• Proceedings of the Costume Culture Conference
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• 2005.04a
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• pp.51-53
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• 2005

• The Science & Technology
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• no.12 s.463
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• pp.84-85
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• 2007

• Korean Architects
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• s.602
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• pp.126-129
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• 2019

• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.925-940
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• 2003

The purpose of this study is to analyze the major influence of postmodernism on 20th century fashion. Due to its characteristic traits like pluralism, indeterminacy, and immanence, it can be said that postmodernism in fashion manifests itself in an overlapped and duplicated style. The conceptual side has to do with such various 20th century thoughts as decanonization, deconstruction, populism, and in fashion it is presented as subcultural style, syncretic style, and post-feminist style. The stylistic side of postmodernism in fashion also has to do with fragmentation, hybridity, stress on performance and participation, carnivalization, deconstructive turn, and it is presented as hybrid expression, deconstructive technique, performance, and so on. In the latter part of the 20th century in which postmodernism blossoms in various fields, fashion also participates in the current of the times, together with the rapid stylistic turn, the co-existence of various trends, and the experimental or avant-garde new trials. However, it should be said that all of these tendencies mean not so much blurring of the boundaries between styles as developmental mixture of styles coming from juxtaposition after fully realizing the boundaries of contrast and combination.

• Korean Architects
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• no.3 s.168
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• pp.24-32
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• 1983